劇情縱覽
萬圣節的夜晚，羅格（Alvin Alexis 艾爾文?亞利克斯 飾）和海倫（Allison Barron 艾麗森?貝倫 飾）等十個膽大妄為的青年男女來到一棟陰森恐怖的廢棄殯儀館進行派對。這個名為“霍爾房屋”的殯儀館內流傳著許多悚人的傳說，據傳，其前主人霍爾一家就在此慘遭殺害。當地人聞風喪膽，視此為禁地?！ o所顧忌的年輕人們走入這里，并別出心裁決定進行通靈儀式。他們的糟糕行為喚醒了地下室沉睡的惡魔，一場血腥殺戮旋即展開。他們能否躲過這個恐怖的萬圣節之夜，逃出生天呢？
在線暢看
臻選佳作
天才游戲
彭昱暢,丁禹兮,李蔓瑄,鄧恩熙,侯雯元
窮途末路的天才少年劉全龍（彭昱暢 飾），被偏執富家公子陳倫（丁禹兮 飾）選中，被迫踏入一場為他量身打造的“換命游戲”。豪華別墅、名車名表、神秘女友全部備齊，在陳倫的精心打造下，劉全龍瞬間擁有頂配人生。這場表面上各取所需的交易，暗地里卻殺機漸起。當眾星捧月的快感喂大了野心，貪婪的目光開始盯上原主擁有的一切，那個曾經溫順的“獵物”，開始在暗處亮出獠牙，而掌控一切的“獵人”似乎也早有籌謀。無名的尸體、操控與反噬、扮演與沉淪，這場游戲里，究竟是誰在控制誰？
吸血獵手
科里·費爾德曼,馬爾科姆·麥克道威爾,魯格·豪爾,布魯斯·戴維森,迪恩·S·賈格爾,Richard Wagner,費爾南達·羅梅羅,Patrick Brennan,Chris Pardal,托馬斯·瓊斯,Lovake Heyer,金貝里·皮特森,Elizabeth Greer,霍莉·林奇,考特尼·蓋恩斯,薩姆·魯克,Clementine Heath, 金佰利·道格爾迪,Shafik N. Bahou
A rogue police detective in search of his parents killer is murdered and reborn the ultimate killer.
飛馳人生3
沈騰,尹正,黃景瑜,張本煜,魏翔,沙溢,范丞丞,孫藝洲,段奕宏,張新成,胡先煦,李治廷,白宇帆,周政杰,高華陽,賈冰,王安宇,陳永勝,馮紹峰,郝瀚
巴音布魯克最后一站收官后，張馳（沈騰 飾）受邀作為車隊主教練征戰全新賽事“沐塵100拉力賽”，“野生車手”走上國際舞臺！面對高手如云的全新賽道，孫宇強（尹正 飾）、記星（張本煜 飾）一如既往協同作戰，林臻東（黃景瑜 飾）等實力車手應邀強勢集結，一支凝聚了頂配速度與信念的車隊就此成立！然而，張馳發現真正的挑戰仿佛并非來自比賽本身，賽場之外暗流涌動，讓他們飛馳之路充滿變數……
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli
Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster